All language subtitles for Kiss.The.Future.2023.720p.WEB.h264-EDITH

♪ MTV. ♪

Around the world,
the Cold War

is being replaced
by a new world...

Josip Broz Tito.

His death left a
political vacuum...

...that is anything
but orderly.

...and led to a
wave of nationalism.

That's the news for now.

Stay tuned for more...

A peaceful, popular uprising

against the oppressiveness
of Communist rule.

Beanie Babies...

What was left of Yugoslavia's
federal government

apparently has collapsed.

The man at the
heart of the crisis

is Slobodan Milosevic.

...uh, we are blamed

that we want to
create Greater Serbia.

...and liftoff.

We are not going
to get bogged down

in some guerrilla warfare.

You and I have
witnessed the historic

and revolutionary
transformation...

Thousands and thousands
of West Germans

come to make the
point that the Wall

has suddenly become irrelevant.

Something, as you can
see, almost to party on.

How do you measure such an
astonishing moment in history?

Your government seems to
be changing every day.

Where do you think it's going?

"That's the government's
problem," he says, "not mine."

People were trying
to figure out

what was happening after the
fall of the Soviet Union.

With the Berlin
Wall coming down

and the Eastern
bloc falling apart,

Europe was reshaping itself

and in a particularly
violent way in Yugoslavia.

Yugoslavia was breaking up.

It was ready-made for trouble.

Bosnia was important
to the Serbs

because they were
trying to save

as much of the former
Yugoslavia as possible

to be in a Serb-dominated core.

And the elite in Yugoslavia,
particularly in Serbia,

became concerned how they
would hold on to power.

The main one was
Slobodan Milosevic,

who was leader of the
now crumbling Yugoslavia.

He wanted to go all over the
former Yugoslavia and grab,

if he could, those
pieces of territory

where Serbs had been living.

Milosevic was a banker.

He was not a true nationalist,

but nationalism became his
tool to hold on to power.

Sometimes the more
absurd the lie is,

the more effective it is.

We were being hypnotized.

We were so blind.

It all felt like something
was going to happen.

At that time,

armed soldiers
came into the bus

and, uh, starting to collect

our IDs

in order to make assessment

to which ethnicity
each of us belonged.

When they saw my ID card,

my name was totally
typical for Yugoslavia.

But Senad's ID card
says that his name,

they called it Muslim name,

so it could be danger for him.

Yugoslavia was an
ethnically diverse country,

and Sarajevo was the
center of that diversity.

For Milosevic, that
represented a threat.

The ethnicities had not just

lived together in harmony

but intermarried.

We used to say, you
can't divide this nation

because you can't
divide a household.

You'd have to go
through the bedrooms,

through the kitchens,
through the living rooms

and put up Berlin Walls.

- ♪ ♪

Sarajevo is a
place where people

had lived together, always.

We never, ever cared
about ethnicity

or different religions.

I was brought up that way.

It was the heart of culture.

It was the heart of arts.

It was a very, very bright,
shining light, Sarajevo.

And they needed to
kill that light.

The Yugoslav Army,
which had been

the fourth or fifth
largest army in the world,

became Milosevic's
Serbian army.

And that army was
turned upon Sarajevo

to terrorize its people.

Imagine a president
of the United States

taking the U.S. military and
making it into his own army.

He encircles New York City.

He fires upon his people.

He terrorizes the population.

That's what Milosevic
did to Sarajevo.

It represented a threat
to his idea of creating

a homogeneous Serbian
nationalist state.

300 meters from our bedroom,

suddenly, one tank emerged.

You have the Yugoslav Army

supposed to protect you,

and all of a sudden,

your protector
becomes a monster.

We did not believe

that war is going

to happen six
months into the war.

I never believed for one second

until people started
dying around me

that the war is happening.

You are under the siege.

You're being a hostage.

Uh, they're shooting at us.

We're there like sitting ducks.

I will never have so much hate
to do them how they do to us.

Everything has changed.

Everything what we
used to live as, uh,

let's say civilization rules,

is, uh, uh, destroyed.

If they needed to
go out and get food,

they would get shot at.

If they needed to get water,
tanks would fire upon them.

Even if a child tried
to go to school,

he would become a target.

If they tried in any
way to leave the city...

they would be killed.

I was a really
young reporter then.

I got there maybe
about two months after

the actual referendum

on freedom and independence

that broke up Yugoslavia.

It was the first war
where journalists

were purposefully

targeted.

- We had cars

that were clearly
indicated with "TV."

They would shoot sometimes

through the "T" and the "V"

like it was target practice.

My own camerawoman
was shot in the face.

CNN camerawoman Margaret Moth

wounded this morning
by sniper fire.

Being faced for
the very first time

as a reporter
with mortal danger

- was quite something.

I didn't really want
to go and fight,

and everybody had to do
something during the war.

And, uh,

I used to live across the street

from the fire station.

So I went there and asked them,

you know, do you
need another guy?

And so they accepted me,

and then, then I
became a fireman.

I remember my first fire.

It's kind of a tall building.

They're firing,

you know, exploding bullets

on the, onto, like,
an eighth floor.

And we would go

to the eighth floor

to-to put out the fire...

...and then they would start
shooting at the sixth floor

to cut us off, you
know, deliberately.

And I got lost in all this
smoke and fire and everything,

you know, and I could have died

during my first fire.

In the war, I realized
that I can die any second

and decided that
never in my life

I should do anything
but what I like.

That's where it all started.

That's where this idea
of me doing something

creative, artistic
started, you know.

And so we immediately started

playing some music,

and, uh, we were really
punk rock at that time.

This is a public service

- ♪ ♪
- announcement...

with guitar.

During the war,
we'd mostly play

in this club called Obala.

We would go there,
we would play.

- People would come.

They would listen,
they would have fun.

It was kind of like teleporting

to... to another place,

to Amsterdam, to Berlin,

to London, New York,
any other place.

You know, like none of us

thought about what's
going on outside.

You know, it was

kind of like really
like a capsule.

And, uh, that's what kept
us sane all the time.

♪ By a policeman... ♪

Without electricity, TV,
running water, everything.

The urge for art in the
city of Sarajevo amplified.

And that's exactly
how we did Hair.

♪ With Mars, then peace... ♪

In the war, we
did it every day.

- ♪ ...will guide the planets ♪

♪ And love will
steer the stars ♪

♪ This is the dawning
of the age of Aquarius ♪

♪ Age of Aquarius... ♪

Music and mic was my weapons
in the beginning of the war.

I was a member of National
Territorial Defense.

In the Yugoslav Army, I was

radio operator.

I was working with gadgets

for our communication.

My task was to find frequencies

that were communicated

and try to... to destroy
that communication.

So I was playing Clash,

Jimi Hendrix and Sex Pistols
as loud as possible, you know,

on those frequencies
that they were...

they were talking.

- ♪ I'm breakin' rocks... ♪
-It's a cat and mouse.

So they changed frequency,

then I find them again,

then I again play Hendrix

and the Sex Pistols and Clash.

♪ I fought the law
and the law won... ♪

That was my task.

I don't think I would have
survived without this.

It's the only thing that
kept us going, you know,

having a disco in the
middle of the fucking war.

You know, you go and dance.

♪ The law won... ♪

The audience was literally
risking their life,

running from the different
bridges to the theater.

Our sound guy died before
one of those performances.

♪ The law won... ♪

One day my bass player
came to me and said,

"Oh, our drummer,
he lost his hand

on the frontline."

He lost his right fucking hand.

♪ I fought the law
and the law won... ♪

Many people felt like us,
you know, not just us.

So, many people
took instruments.

They started feeling creative.

They-they wanted
to say something,

so we had this wonderful scene.

That was a surprise
for-for all the occupators.

And that was something
that gave us a boost

to-to go further.

We got here in Sarajevo,
we got the, uh,

the rock and roll
in their hearts.

What would you do if
somebody tells you,

"Okay, you got five
minutes." What would you do?

You do what you like the most.

And that's what
we loved the most.

And you know what,

I would not say

that I wasn't ready
to die for it.

It was a therapy to us.

It was a real therapy for us.

For all of us, not
just the musicians,

but for all the people who
were coming to these clubs.

When I heard music
of U2, politically...

...they represent something
that I realized in this war,

in Sarajevo war,

was a personification
of our resistance.

With U2, during the war,

they really had something
to say. You know?

That was really
important for us.

All of us

use music to,

you know, protect ourselves.

You know, as a kind of shield
against all the dark forces

inside our head.

In Sarajevo, there was war.

They were in the middle of it

and they were using
music as a shield

against actual dark forces.

So when I grew up, punk
rock was that for me.

We went to see
The Clash in 1977

on their first tour in Dublin,
and that's how it started.

♪ In 1977 ♪

♪ I hope I go to heaven ♪

♪ I too long on the dole... ♪

The distance between

the stage and the audience.

♪ Danger stranger... ♪

Punk rock was
about tearing down

that difference,

with stage invasions of people,

you know, jumping off the
stage, going into the crowd,

breaking the
distance down between

us and them.

And ending up with the phrase,

"There is no them,
there is only us."

Coming from-from Dublin

in the midst of the
Northern Ireland troubles

going on up the
road in Belfast.

I mean, there was a lot of
the aspects of punk rock

that seemed to offer some
kind of different attitude

to the divisions that were
happening in our country.

And as we kind of
explored that music,

it became a huge
influence on us.

The visceral energy of it

and the direct
connection with politics

and social movements,
which was integral as well.

This song is not a rebel song.

This song is "Sunday
Bloody Sunday."

- ♪ ♪

♪ Ooh, oh-oh... ♪

You know when you
hear the music

and then you think,
"This is my song.

Somebody stole my song from
my soul, from my head."

That's what happened to me.

♪ I can't believe
the news today ♪

♪ I can't close my eyes
and make it go away... ♪

That was the DNA of
where we came from

and what we identified with.

And we thought we'll take the
power back into our own hands.

And that was what we
did through our music.

-* Sing no more ♪

- ♪ No more ♪
-* No more ♪

- ♪ No more ♪
- ♪ No more ♪

♪ No more, wipe
your tears away ♪

♪ Wipe your tears away... ♪

Our punk rock was a
weapon to tell them,

fuck you, fuck you.

You can't do anything to us.

Yeah, you can... you can
keep on shooting at us,

killing us and all this, but we
will tell you fuck you anyway.

It's just incredible.

And people's resilience
to... live a normal life.

To say it's impressive is
an understatement, you know.

And so we got embroiled
in that, of course.

We went by the name of
the Serious Road Trip.

It was a non-governmental
organization,

completely neutral,
young people

who want to do some
good in the world.

It was full of clowns and
acrobats and jugglers.

And the mandate really was
to drive around the world

and expose the plight of
underprivileged children

in the form of entertainment.

And that's how we got
absorbed into that war,

because we saw what
was happening there.

And that's where I
came across Bill.

I was trying to find my way

into an aid organization,

and nobody would hire me.

I didn't have the
right credentials.

I didn't have the right
interview in Geneva,

in New York, and it just
was, "No, no, no, no."

And then I saw this
guy, Graeme Bint.

Okay, who's this guy?

I gravitated to him and
just started talking to him.

He was our age and
our sort of ilk.

He was funny right away.
He's very likable right away.

I vetted him to find out,
you know, what his...

what his agenda
was, if you like.

Making fun of me,
calling me Spam,

which means Spastic Plastic
American Motherfucker.

-Are you ill?
-Sick.

- Are you?
- As a pig.

- Really? Why?
- Yeah.

'Cause of you.

He stood out in that
he didn't fit in.

And nor did I, you know.

And sort of, "Dude,
why don't you...?

"You should be, you know...

Have you heard about us?"

"Come on board."

♪ All night long, I
dream of the day ♪

You intolerable man.

♪ When it comes around
and it's taken away ♪

♪ Leaves me with the feeling
that I feel the most ♪

♪ Feel it come to life
when I see your ghost ♪

♪ Then I'm done, done,
on to the next one... ♪

They were seen as a
very maverick aid group

who broke all the rules,

who didn't really
listen to the UN,

who didn't really

go by all the rules of the war.

And I thought, "Well,
that's perfect."

And they said, "Okay, we're
going to go to Sarajevo

tonight at midnight."

This is where the fun begins.

Coming into Sarajevo,

we suddenly realized,

"Shit, I-I'm in a war zone."

You can see on a hill,

you can see... you can see a...

a tank, destroyed tanks.

There's no getting
out of this.

This is now life and death.

The first thing you
do is you go through

what they call no-man's-land.

And that's a large
stretch of desolation.

Everything's completely flat.

So you go from no-man's-land
to sniper's alley.

Now we can see a lot of place

- where sniper shooting now.

Right here, sniper shooting.

So you can see the
people running.

You would be driving
down sniper's alley

and everybody on the
right of the road

is just walking.

Like just casually
walking or bicycling.

You have to

learn how to survive in Sarajevo

and what it means
and how to walk

- and how to navigate the city.

There are barricades
everywhere,

made from old
shipping containers,

old buses, old trams.

And what they are are
sniper barricades.

So when people have to cross
streets and things, these

strategically placed
shipping containers

have been piled up

and-and they're just
bullet hole-ridden,

but they stop a physical
view from the snipers.

MAN Using us as a barricade.

Are they fucking kidding me?

It was just a
crumbling, broken city.

- It was shocking.

It was like pictures from
World War II, you know,

just literally burned

and bombed to the
ground kind of thing.

Hey, the Road Trip's in town.

They know it.

We had a local,

um, charity escorting us

to show us the way
where we're going,

which is underneath
the UNIS Towers,

the two big towers in
the middle of Sarajevo.

And they take us there
and all of a sudden,

we are swamped
with-with children.

Swamped.

They know there's food
and shit in these trucks.

The kids loved it.

Um, they would just beam.

They'd just go ear
to ear with smiles.

But there were kids then

starting to try to
steal the batteries,

trying to steal the cables,

trying to steal everything
they could get off that truck.

It had a desperation
to it, you know,

and it was understandable

but also made you realize

where you were.

Oh, it was awful,
but I knew that it...

if to really solve
the Bosnian problem,

I had to win the anchors
of Western Europe.

But a lot of people in the UN

were predisposed
to give up on them.

You know, say, "Well, they're
just going to fight forever.

It's too much trouble
to try to sort it out."

Don't, don't, don't
live under this dream

that the West is going to come
in and solve this problem.

Don't dream dreams.

Don't dream dreams.

As the Serious Road Trip,
we had this philosophy.

We don't want to just feed

people who are desperate.

We want to make a firebreak.

We want to reach
across a generation

and we want to address
the young children

to give them hope

so that when those
children grow up,

hopefully, hopefully,

they realize that
they weren't forgotten

and that there was people
from-from the outside world

who came to help them
and look after them.

And maybe, just-just
freaking maybe,

that will prevent the legacy
of it happening again.

So that was our
deep down mission.

Hence why we looked
like a bunch of clowns.

Hence why we were...

we didn't just drop our
food in the warehouse,

turn our trucks
around and piss off.

We-we stayed and-and
made contact.

That's it.

It was very difficult

to get food.

Very difficult indeed.

It took a while for the
humanitarian airlifts

to really make an actual
material difference.

Yes, the West brought in food,

but as one Sarajevan said to
me, "You know, when the planes

"used to come in with
humanitarian aid, you know,

they're just fattening
us up for the slaughter."

It's really hard to hear that.

That motivated us

to tell the world
what was going on

and make a difference.

Why, in the absence of a policy,

have you allowed the U.S. and
the West to be held hostage

to those who do have a clear
policy, the Bosnian Serbs?

And do you not think
the constant flip-flops

of your administration
on the issue of Bosnia

sets a very dangerous precedent

and would lead people to
take you less seriously

than you would
like to be taken?

No, but speeches like
that may make them

take me less seriously
than I'd like to be taken.

There have been no
constant flip-flops, madam.

I ran for president saying
that I would do my best

to limit ethnic cleansing

and to see the United States
play a more active role

in resolving the
problem in Bosnia.

The problem is,

most of the killing
was going on in Bosnia

under a false
historical narrative

on the part of the Serbs.

It-it felt like

we were abandoned.

That's, that was the feeling

that-that, um, we all shared.

The reason I went to
Sarajevo was because

I was very in love

with a girl.

Corrina is her name.

And we had plans.

We had the future.

We had the whole...

...the whole dream planned out.

Bought a Volkswagen van,

and we were going
to go to Mexico.

And... and then she took the
van to go to our hometown,

and she had a
tragic car accident.

And six days later, she died.

The problem with
losing someone you love

is that you don't
lose the love.

You lose the
receiver of the love.

I think when I went
to Bosnia, Sarajevo,

I found a way to put the love

to use.

At the very beginning,
the reason why

we disliked anyone

who showed up in our, um,
in our world was because

there are a lot of war tourists,

as we call them, who'd just
show up with their cameras.

And whenever there
is a dead body

or when something bad happens

while our lives are
being destroyed,

they're just taking pictures

and they just leave and you
never get to see them again.

And I guess it felt like
we had these intruders.

Bill was a-a guy who
lived in my neighborhood.

We thought that Bill was
just, you know, one of them.

When the Road Trip
first arrived,

we would go around our
little neighborhood there

and play Ping-Pong and do
all these kind of things.

And these kids
would always, like,

throw rocks at us, call
us all kinds of names.

My friends and myself,

we were little
gangsters, obviously.

We were just trying to
do things, you know,

that normal
teenagers do and, um,

doing pranks. And, um,

that guy kept on showing up.

He became kind of like,

you know, a regular.

♪ Here is all my... ♪

♪ Here is my whole
heart to you ♪

♪ I love you, I
love Sarajevo. ♪

We let him into our world,

and you had to deserve it.

From that moment on,
we became like besties

in a way.

So, that is Sarajevo
Symphonic Orchestra.

They play here in,
uh, TV building

because there is no place
to play, uh, somewhere else.

I was journalist working for TV

in Sarajevo, and I was

very happy

because I was part of cultural
flourishment of Sarajevo.

And then I met one guy

whose name was Senad.

We were engaged in
the same project.

He was really good man.

He was very funny and
he was very smart.

Every day when we walk
to our TV building,

which was about one and
half kilometer away,

the hundreds of tanks around us

and the thousands of snipers,
et cetera, et cetera.

It was so dangerous, and sniper

shoot to us

from our left side

- when we go to a job

or from our right side

- when we go back to our home.

Senad, as a gentleman,

he always stay on the
side of the sniper

"to protect me."

So he was really
brave in my eyes.

But if you see realistically,

both of us could be
killed every morning

and every afternoon.

So there was plenty of
pathways in Sarajevo

that had, like, they went
through people's rooms,

living rooms.

Like a back tunnel system.

They had subterranean paths

that would go
beneath the ground

that you could use.

On the surface of
Sarajevo, right,

is all the destruction,

all the gray

and all the running around.

We had friends,
musician friends,

and they invited us to
an underground disco.

And there's a door,
and it went down,

down, down, down
a bunch of stairs.

And you get downstairs,

it's like I was going through
the, um, Alice in Wonderland,

- and it was just
a roomful of people

in a disco with a
generator playing music.

It was just full of life.

I want to ask you,

what's happening with
the Indians in America?

I always thinking if snipers

shoot me, it's on me.

My fault, because
we know the lines.

We know how to walk through
the cities to keep us safe.

And Bill is always...

We met each other in some
place in the city, but...

with-with his camera.

- Excuse me?
- It's Bill.

Bill. So, Bill,

uh, do you think
that, uh, Sarajevo

is a special kind of safari?

-Special kind of city?
- Of safari?

- Safari?
- Yes.

We used to see

foreign people every day

with, uh, different ambitions,

uh, what they want to do
with themselves first.

So why are you in Sarajevo?

Why? Yes. To help people?

Of course.

- Rich people?
- Everybody.

- To help me or somebody else?
- If you need it.

- Yes.
- You need it?

Okay. I need maybe, uh, $2,000.

- $2,000?
- Yes. Yes.

- Why do you need $2,000?

So help me.

Soon you found out
who is good person

and who is here just because
he or her lost herself

and, uh, wants to be in
this adrenaline location.

We can all help
each other morally.

Yeah.

You got to figure out

what you're doing in this place

or you need to get
out of this place.

And everybody there that was
there had to ask that question.

And that made me ask that
question in real time.

What am I doing here?

That was starting
to gnaw at my brain,

and that... would inspire me

to try to figure out how
to do more for the place.

Senad ran something

called Rat Art,
which is War Art,

at the TV station.

And it was a TV show

of things that were
going on in the war

that had to do with art.

Fashion shows,

comedy,

all kinds of crazy stuff.

I remember sitting
around in Rat Art one day

watching MTV, and there was U2.

Hello, hello, to anyone
in Bosnia watching.

We hear you watch MTV.

This is Bono and U2
in Dublin, Ireland.

We don't know what
to say to you.

Uh, we'd just like
to wish you well,

to wish you some kind
of lasting peace.

We're not deaf, we're not
blind to what's going on,

and we won't be dumb.

Huh.

That's interesting.

They're already tuned in.

♪ One man come in
the name of love ♪

♪ One man come and go... ♪

My first U2 concert was
Amnesty International,

which is, you know,
Amnesty International.

Like, that's, what you're doing

is you're fighting
for good things.

♪ In the name of love... ♪

I mean, I grew up with
them in the sense that

I thought they were
a force of good.

I thought their lyrics
and their passion

was always trying to
do something good.

So that, mixed with
seeing them on MTV,

I had an idea that
with the musicians

that I had known in Sarajevo
and the power of that disco

and the power of the
musicians and the art,

I thought if I could
get this guy, Bono...

...in a room and just talk
to him about these people

and how they were
living in this place,

maybe he would react to it.

Maybe we can have
a conversation.

That's... that's it.

I'm going to go interview Bono.

I'm going to go try
to meet the band

and interview them about and
tell them about Sarajevo.

Hear what I'm seeing.

And he said
(chuckles), "Fuck off."

I understand if I
ask as Bill Carter,

this guy who's
running around Bosnia,

U2 is going to say no also.

Like, who am I?

Okay, Senad, how about this?

I write a letter using your
name as the managing editor,

which he was not the managing
editor of the TV station,

and I'm your foreign associate.

We send that because if
it's on the letterhead

from the radio and TV
station in Sarajevo,

who's going to ignore that?

"Fuck you, Bill, go outside."

Now I was getting
angry with Senad.

So I went around him.

And in 15 minutes,
there is phone call

from the head manager
of radio and television.

"Hi, my colleague
Senad." My colleague?

-"There is a Mr. Carter."

"Should you please be
so kind to helping him?"

I said, "Okay."

And in a few minutes,
Bill came on the door.

As a winner. "Hi, Senad.

- I came to make the..."

He left.

Wow, it's happening.

The idea now is
officially in the air.

And then nothing happened.

Watch that box.
It's kind of shaky.

Bill had talked to his friend
who worked for the IRC,

and he told Bill that U2
were playing a concert

across in Italy, and
that's not far away.

The concert was
like in one week,

so my plan became
really fast in action.

Downstairs from the Road Trip
was an office, Equilibre.

It was a French
non-governmental organization.

And Wally ran it,
he's from Senegal.

And I knew they had a radio.

- Where?
- Where?

- Upstairs in the office.
- Oh. - Oh.

- Equilibre office.
- Yeah, yeah.

And I said, "Wally...
can I use your radio?"

I told him why,
he's like, "No."

If I can just make this
one call, I'll be on...

I'll be on it for
like a minute.

So he does it, he sets it up,

he cranks it up, you
know, calling Lyon.

It's just all this crap.

And he got 'em.

- We're talking to Ireland.

And it's this beautiful
Irish voice, young woman.

And I said, "Do you have
a fax from Sarajevo?"

Said, "Yes, we do."

And she said, "They sent a fax.

Bono wants to do an interview."

"One nation...

under God"

has turned into "One nation

under the influence
of one drug."

♪ Television. ♪

I got a ticket.

I thought I had
someone meeting me.

I didn't know what were
the rules of engagement.

I just thought, I have a fax.

So that was my, like,

walking around card--
I looked like an idiot.

Everywhere I went,
nobody would let me in

and everybody was
like, basically, "F-O.

It's a fricking fax. Go away."

I was like, I-I cannot
have come all this way

and this is going to fail.

So I just was talking to
the Italian guard saying,

"Hey, I know this is weird,

"but I got a fax that says I'm
supposed to do an interview.

"I just don't know how
to get into the stadium

to do the interview."

And the guy says,
"Where are you from?"

I said, "Well, I'm
not from Bosnia,

but I'm representing them on
this, doing this interview."

And he told me,
"Well, they're all...

they're all murderers
and thieves."

That did not go over very
well at that moment with me.

And at this point,
I just pushed him.

So we got into a
little kerfuffle.

Whoever came into the
dressing room said,

"There's somebody outside, and
he's completely unreasonable."

Then these guys come out.

Said, "Hey, hey, hey, hey.
What's going on here?"

And I'm like, you know, the guy

at the bottom of
the rugby pile,

like, "I've got a fax.

I've got a fax, and I'm
supposed to be in there."

And the guy's like, "Yeah,
we're waiting for you.

Come on in."

-Thanks.
-The man...

The man dressed as a condom.

I know, it... This
is a bit, uh...

Well, it's actually
leather, but it's...

- It is leather.
- It is leather, but it feels like...

Right. Right.

This is the same outfit you've
been wearing the whole tour?

- Yeah, does it smell like it?
- It's the...

No, but it is like
the tour outfit.

You all wear the same
outfit every-every...?

Well, I got a... I
got a few of them.

- Right, right, right, right.
- Mm.

You know we're from
Sarajevo television.

- Sure.
- And, uh...

it's a big deal for
these people to get this

because it's been 15 months

since they had anything
new come on television.

Uh, so, quite exciting for them
to get something like this.

- Well, I'm very
happy to talk - Yeah.

to Sarajevo television.

To talk on Sarajevo television.

Yeah, it won't
go out right away

because there's no electricity,

but as soon as it
comes on in the city,

we'll-we'll put it out.

Yeah, well, you know, it's,
it's a tiny thing for me to do.

- Yeah.
- And, uh...

I hear rock and roll is, um...

- is popular.
- Big, big.

And I hear that when, when
there's trouble outside

and people have to go indoors
and even in the shelters,

they've got MTV.

They got MTV on satellite.

- People have satellite and generators.
- Right.

- They've also got disco, and it's beautiful.
- Wow.

It goes until 4:00 in the
morning, everybody rocks,

forgets about outside,
then goes outside

and-and deals with outside.

But basically people are really

trying to do
anything to forget.

That's what the idea was

'cause they're
losing their nerves.

Yeah, I'd say, yeah,
it's really important,

I imagine, to, um,

to, uh, hold on to your...
your sense of yourself

- and your sense of fun.
- Yeah.

You know, and it's,
it must be so hard to,

but, uh, I think
somebody said, uh,

"Courage is grace
under pressure."

And, uh, I always thought
that's a good definition

of, uh, of the
people of Sarajevo.

I could have been Bill

in another life.

I have that irresponsibility.

He's-he's smart, um,

but he has no sense of
danger, it would appear.

It's like, you know,
when you're a kid

and your parents say,
"Now, don't be standing

on the street
corner with them."

It's like they're, of course,
the first person you go to.

But, of course, it's not,
it's not about personalities.

It was that he contained, um,

a story and narrative

that I have felt
connected to all my life.

I have a question in
regards to this war,

- and your home
country, - Mm-hmm.

and about the human cycle.

I find it a bit depressing
that we have heroes,

we have wars, we have history,

but we don't seem to learn.

We just keep, after
so many years,

- we have to have this killing.
- Yeah.

Do-do you ever
think about that?

I, well, it's the subject
of a lot of our songs.

See, I mean, I
come from Ireland.

Ireland is also divided.

And again, you know,
they say it's religion,

but you know it's not religion.

And the human heart
is very greedy...

Mm.

...and, uh, it seeks
many excuses for that.

And religion is
a convenient one,

color is a convenient one.

Uh, what's... you know,

I don't really understand
what's going on.

And the... there must
be an incredible urge,

you know, and I really, uh...

People deserve the right to
defend themselves against evil.

- Right.
- And they must decide how to do that.

But if there's any
other alternative,

you know, obviously
you've got to seek it.

And I know that's what
you guys have been trying

and you haven't been allowed.

And, uh, I'm-I'm really,
really, you know, uh,

s-sorry to hear about that.

And I understand any reaction.

But I just hope that even
in the middle of that,

even in the...

is not to become
like the animals.

To me, that was my
mission, was to talk about

that part of what
I was experiencing.

Tell him how much of a rock
and roll city the city was,

how much culture was alive,

how much culture was the
point, was resistance.

'Cause I thought that was

what they wanted to
express to the world.

Dignity.

- Self-respect.
- Yeah.

These are things that
people can't take away.

And humor, humor is the
evidence of freedom.

Sarajevo is the-the heart
of surreal black humor.

It's unbelievable
what people do there.

- Just keep laughing. Oh.
- Is it?

- See, this is why...
- They laugh.

You're talking about somebody

- who sees their
mother die, - Yeah.

but that it's going to
happen to their friends,

the next day, they're...

- you know, they-they try.
- Yeah.

They have fun, they laugh, they
try to do anything they can.

That's, you know,

that's-that's when
you know people are,

you know, that's-that's
when you're-you're winning

in one respect.

If... if-if they
can't take that away.

- You'd love Sarajevo.
- I think I would.

Yeah, they're good people.

I think I would. I'd
love to get there.

- Yeah. We could arrange that.
- Yeah.

It's difficult, but
we can arrange it.

Yeah, I'd like to, uh...

Yeah, you know,
there's a song, uh,

we've written called
"One" on our last record.

I'll do that for... for-for
the people of Sarajevo.

We're 200...

200 miles, 300
kilometers from Sarajevo.

And, uh...

these tonight are our
next-door neighbors.

♪ Is it getting better? ♪

♪ Or do you feel the same? ♪

♪ Oh, oh ♪

♪ Will it make it
easier on you now ♪

♪ You got someone to blame? ♪

♪ You say one love, one life ♪

♪ When it's one need in
the night, I say... ♪

Incredible.

Somebody care of us.

And we publish numerous time

because we, in the
newsroom of War Art,

so satisfied with the material

and published every few days,
again and again and again.

They're all waiting for
somebody to come to...

Yeah. I'd love to play there.

- Hey, that would be a great idea.
- You know?

You know, maybe if-if
you can, you know,

if there's, you know,
if there's a way, uh,

- that would be a really
nice thing to do - Right.

at some point in the future.

Bono did this interview,

and he came back, um,
from the interview, said,

"I think we should
go to Sarajevo."

And we were talking
kind of about,

let's go to the disco,

just you and a guitar,
kind of a punk thing.

I, of course, said yes.

The rest of the band said,
"What are you talking about?"

"Isn't that, like,
there's a war going on?"

He said, "Yeah, no, no, but
I met this guy, Bill Carter.

"He says, he says
he knows people

and we can get on a UN plane
or something. We can get in."

We always liked the idea
of doing guerrilla gigs.

It's part of the culture of U2,

of turning up places with
a guitar and a tambourine

and doing something.

What we always look
to is what is the...

what is the core
value of this person?

Th-Their core values?

And-and if we agree with them,

we'll put up with any
of the idiosyncrasies.

He's a bit crazy,
but that's fine

because we can work with crazy.

They'd been calling
several times,

and the... the message
was they want to come.

I was already thinking that

them coming to Sarajevo
was going to be

extremely difficult to do.

I don't want to be
the guy that invites

U2 or Bono to
Sarajevo, you know,

on the middle of a tour and
then he, you know, he dies.

Okay, change the channel.

How do we do this differently?

Willkommen to ZOO TV.

Yeah.

Let's see what we
got on TV tonight.

We'd seen the show
the night before,

so we'd experienced
what they were doing,

and what they were doing
was beaming the world in

on these massive
90-foot televisions.

That's kind of ZOO TV.

You know, this was

the era of 24-hour cable news.

News was one of the
central conceits of ZOO TV.

Let's see what they've
got on for us tonight.

So it was sort of obvious.

It's like, well, if we
can't go to Sarajevo,

let's bring Sarajevo

to our show.

Why don't we satellite into

the U2 concerts?

Let's do some news broadcasts.

The siege of Sarajevo was sort
of slightly being ignored.

And we thought, well, if we
bring it into the concerts

through our news feed,

we might be able to get
it talked about again.

I went to EBU, European
Broadcasting Union.

They had a massive room
of satellite equipment.

I told them the idea,

and that's it.

In the city of Sarajevo,

they've got a dance
hall under the ground

that's, I guess it's a shelter,

but they play rock
and roll music,

play dance music,
they play it loud...

...and, uh, this
is to drown out

what's going on
over their head.

The intention was to give,

it was to give a voice

to what was going
on in Sarajevo.

We knew that this is
what he wanted to do,

was to bring people
to the studio

and for them to
tell their story.

And that-that sounded great.

We got a friend in Sarajevo
who, uh, came to see us play,

asked us to go to Sarajevo
and play a gig there,

then asked us not to because
things were so bad there.

So we didn't go to play,

but we sent a satellite
dish from ZOO TV

into the city of Sarajevo

and, uh, we got a friend there
who, a guy called Bill Carter,

rock and roll fan,

and we're going to try and
get through to him right now.

You there, Bill?

Yeah, I hear you, Bono.

Well, you got, I don't
know, 50,000 people here,

and we just wanted
to say to you

that it might not be on the
news as much as we'd like,

it might not be on the
TV as much as we'd like,

but you are with us tonight.

I have some friends
with me from Sarajevo.

This is Darko.

I want to say hello to all
the peoples in Bologna.

And thanks to Bill,
U2 and all you people,

we don't feel alone.

Vlado, who has been separated
from his wife for 17 months

and she lives in Bologna,

and there's a good chance
she could be there tonight.

So he'd like to say a
little message to her.

I have a small
message for my wife.

My darling Marita, I
love you and I miss you.

I... still alive
and I feel good.

Ciao.

It was real in a kind of

spine-chilling way.

And we gave them a serious dose

of uneditorialized reality
bang in the middle of our show.

The audacity of asking
these incredible

and courageous people
these questions,

um, "What's going on
tonight in Sarajevo?"

when you know the answer.

But their explanation,
of course,

makes it real for
everybody in the audience.

And if it makes it real for
everyone in the audience,

it makes it real for that city
that you're traveling through.

This is Lejla's apartment.

Nobody lives now here.

Bill came to me and said,

oh, we are doing

these satellite links,
and they told me

you had a girl in Stockholm.

What do you think if you
can, you know, address her?

I didn't believe

it was true.

Well, this is ZOO TV,

and we're going to try

and ask the television
some questions

and try and put our fantasy
here next to their reality.

You with us, Bill?

Hello, Bono.

Hello, Stockholm.

Tonight

I have a friend, Enes,

who is from the fire
department here in Sarajevo,

which you can imagine is
a very difficult job here,

uh, and he'd like to say some
things to Stockholm tonight.

Okay.

Hello, Stockholm.

There's a... there's a
girl there in that concert.

She's a girl from Sarajevo,
and, um, she's my fiancée and

I want to say a few
words to her, so...

Lejla, I'm, uh, I'm still alive,

as you can see, and,
um, our families, too,

and, uh, everything's fine.

I just want to say to you
that I love you so much.

The whole crowd
in the stadium...

You know?

It was, it was...
it was surreal.

This is for you, Lejla.

I hope you get
your man home soon.

They're dedicating
the song to Lejla.

And then when it finished,

they started playing this
fucking song that I wanted to,

to ask them to play.

It was the song called "Bad."

Uh, it was... it was
my favorite U2 song.

♪ If you tear yourself
in two again... ♪

To me, to me personally,
it was, it was...

kind of like a...

...like a Hollywood
movie, you know.

Me being in the war,
besieged, you know,

saying... I love
you to my girlfriend

and having this big band

and... it was even...

more unbelievable.

It really gave me goose bumps.

What's happening
today in Sarajevo?

I got a friend of
mine here, Ciba,

who's a painter,

and is using his
paint to get by.

You know, our town
is a big prison

for the last 17 months, and...

I only want to say thanks, U2,

for the big window you give us.

I hope to see you
one day in Sarajevo.

You will.

So what's been happening?

How's everybody's morale?

The morale is okay.

It's holding up
as best as it can.

I know that you are having
now a very nice time

listening famous music of U2.

We, in Sarajevo and Bosnia,

used to listen
that kind of music.

Unfortunately, now
we are listening

just sounds of grenades.

Can you hear me?

We are living on
the front line,

and Serbian aggressor
can see our door.

Two years ago, we were
living like all teenagers,

listening to music, going out.

We had schools, friends,
plans for a future.

Now we have shells, we
have screams of children.

Our schools are burned down.

We in Sarajevo and
Bosnian people,

we are not afraid of dying.

We are afraid what
will happen after this.

How to live with
this experience.

We don't know what
to say to you.

We feel impotent.

We feel numb.

All we say to you
is we're ashamed

to be Europeans tonight.

The world has decided that

the massacre in
Bosnia can continue.

What do you really do for us?

Excuse me, I think nothing.

Do you, do you really
know what's happened here?

I think you don't know

because you don't
do anything for us.

Nobody knows what
the fuck is going on.

All we know is we've
left you there.

We have no answers for you,

and we feel rather
ridiculous tonight

being in a rock and roll band
in this fantasy of ZOO TV

with your reality
there in Sarajevo.

Well, that's just the
heaviest thing ever, you know.

Uh, it's, it was,
it really was like,

it was like a smack
in the face, you know,

and well-deserved

smack in the face.

NED Hello?

Hi, Ned. How are you doing?

Yes. Okay.

And I got the call that night
while we were down there

ready to get, we
were ready to do it,

and he said, "Hey, um, we're
going to pull the plug."

And I was upset,

not at Ned and not at the band,

but just I was in this
mindset like, more.

We got to get 'em heard.

Maybe we can turn the channel,
maybe we can turn the wave,

maybe we can get people...

I was on a mission.

The feeling that, you know,
it-it wasn't... wasn't

necessarily producing
a groundswell

of-of activism, uh,
in the audiences.

People sort of understood
what it would be.

It was predictable.

PAUL McGUINNESS: We
knew what we were doing

was-was, um, propaganda, um,

but, if you like, it
was good propaganda.

And it started to look a
little bit like reality TV,

using people's, um, pain and
anguish as entertainment.

Today's 21st month of
Sarajevo being, uh,

besieged, being trapped

and... I'm tired of it.

Can see it in my eyes.

I'm tired of it and, uh,

tired of living
in this, you know,

just concentration
camp, nothing else.

Here.

This was bathroom.

My friends, they came
and they with water.

They tried to, no fire,

but everything is
burnt, you know.

You're a hostage
for four years.

Instead of waking up

to go to school,

you don't, you don't
get to go to school.

You wake up to the
sounds of grenades

and you-you fall asleep
to-to those same things.

You never know if you're
going to be woken up

by your parents at 3:00
a.m. because you have

to run to the basement
to save your life.

You could, you could
think that maybe,

you know, we get used to it.

We just act normally.

The war just went
on and went on.

We were,

we were hoping it would stop,

it would stop, but it didn't.

It never stopped.

Too long under the siege.

People are going crazy.

How do human beings,

the town citizens of Sarajevo,

accept that kind
of life as normal?

It's not normal
dying every day.

Thousands died during the war.

30% the kids.

And your needs as a human being

to-to live your life normally.

It's like human needs...

to stay normal.

" by Ornella Vanoni playing)

- ♪ ♪

" continues playing)

- It was one of the
best parties in the war.

" continues playing)

That's important.

And that's one of the
reasons we decided

it was some kind
of resistance...

of situation we had been.

Death is always
omnipresent all the time,

but we didn't allow that
feeling to interfere

the joy of life like
this wedding was.

You see, in eyes of those
people, you see life,

you see joy.

" continues playing)

For us in Sarajevo, that was

boosts of morality,

boost of faith, boost of
winning against death.

People from my country,
from this town,

they all have their
way of fighting,

not just men with guns,

but also women
with their beauty.

Th-That's our
mentality, you know.

We decided

to do some work with Eno

on a kind of experimental
record called Passengers.

And in the course of
making that record,

we wrote the song
"Miss Sarajevo"...

♪ For keeping your distance ♪

♪ A time to turn
your eyes away? ♪

...inspired by

the Miss Sarajevo
beauty pageant.

Every single
person is surprised

how women here take
care of themselves,

are trying to look
nice, to be beautiful,

to be dressed nice.

Miss Sarajevo beauty contest,

it was one of the ways
to show that to the world

and to the enemies and to us.

It was not just
a beauty pageant.

This was pure

Andy Warhol, you know.

It was like Marcel Duchamp.

It was like this
brilliant thought,

we'll do a beauty pageant
in a bombed-out car park

in Sarajevo

and these beautiful girls

with a "Don't kill us" banner.

It was far more important
than just entertainment.

♪ To take her crown... ♪

If defiance

is the essence of romance,

there is nothing more defiant

than putting on
a beauty pageant

in the middle of a war
as a giant "Fuck off."

Generation after generation,

when we meet
these-these bullies,

these thugs, these terrorists
pretending to be politicians,

that the artists are also
attacked and threatened:

poets, writers,
filmmakers, musicians.

Because they are a threat.

Because it-it can
inspire people

to-to find the strength
and courage to resist.

There is no one who
can believe, uh,

what, uh, is mentioned as
a, as a organized genocide,

even organized from Belgrade

and even organized by me.

It is really out of
all consideration.

I believed truth was
truth, lies were lies,

and if you just
reported the truth,

then people would get it.

But in fact, what
I learned in Bosnia

was the origin, for me
anyway, of fake news.

The Serbs had a
very, very profound

and professional
propaganda machine,

and the stories they told

were very effective.

You know, your own
people and your soldiers,

to them you're a great
man, you're a hero.

To your enemies, you're
somebody to be feared

and somebody to be hated.

How do you feel about that?

What we saw was

bending the truth,
playing the victim

while they were killing,

slaughtering,
murdering in Bosnia.

They said that
fundamentalist of Sarajevo

feeds Serbian children
to the lions in the zoo.

I heard this story repeated
many times in one day.

It is official
government propaganda.

If there's one thing I've
learned, it is the cheapest,

surest way to political power

is to demonize the other

by promising that somehow
you'll get rid of them

to empower these people.

It was on the front page of
every newspaper for years.

It was on what we call
the A block of all our

news broadcasts for years.

It's not like we didn't
pay attention to it,

but it took more than three
years of this slaughter

for the United States
and the rest of the world

to actually get involved

to stop it.

There was a massacre
in Screbrenica

that even these world
leaders could not turn away.

July 1995,

the Bosnian Serbs
exterminated Muslim boys

as young as 14

and men as old as 77.

Uh, Yugoslavia.

We were, uh, we are blamed

that we want to
create Greater Serbia.

That was not in any
time our policy.

8,000 Muslim men and
boys were separated,

they-they were executed

in Screbrenica.

It was the worst massacre in
Europe since World War II.

And even the West,

which did not
want to intervene,

was then shamed
into intervening.

When they overran Screbrenica,

and you could actually
see UN soldiers

sitting there with their
blue helmets and hats

on top of tanks, watching
the Serb conquerors

take the women and children
and send them in one direction

and take the able-bodied men

and send them in the
other direction...

for extermination.

What is our interest in Bosnia?

Well, if this does not
represent our interests

and our values,

then nothing that has happened
since the end of World War II

represents our values.

A month or so later,

there was another massacre in
the marketplace in Sarajevo.

All right, time now for
this morning's news.

Officials in
Sarajevo this morning

report one of the
bloodiest attacks

of the Yugoslav civil war.

They say a Serbian mortar shell

landed directly on the
crowded marketplace

in the Bosnian capital

where people were
lined up to buy bread.

August 28, 1995.

I went into the marketplace.

People were running
out, screaming.

You-you have no
words to explain

to people what really happened

because there is
no word to explain.

What has to happen
before the outside world

decides enough is enough

and takes action to
end the bloodshed?

I have just completed
a meeting with advisors

discussing the... the terrible
and outrageous incident

in Sarajevo yesterday.

Within 24 hours,
the UN commander,

what we call "flipped the key"
and enabled NATO to come in.

We basically...

got the authority to
bomb them for four days.

It was the beginning

of a new understanding

about what was and
was not acceptable...

...in the Balkans
and in Europe.

An absolute...

...unbelievable
lay-down of bombs

turned the sky orange.

Alma ran up to
the house to watch

this thing with me.

So we sat there together.

I'm sure we were crying.

Last night, I heard...

I woke up, you know,
when I heard the sounds.

But I knew it's
not from Chetniks.

It's from our guys on sky.

Do you think the war is over?

Yeah, I hope. I think.

Slobodan Milosevic
had been falsely

holding the world hostage,

threatening even
greater disaster,

threatening that the whole
world would enter a world war.

They folded in a second
because that's what bullies do.

We became aware, and I have
become aware just over years,

that peace is just one of
these kind of annoying words,

somewhat insipid,
somewhat vague.

But actual peace, um,

is something that
has to be brokered,

negotiated by men and women

under fluorescent
lights, you know,

eating stale cheese sandwiches.

And you start to realize

th-that peace

is not at all romantic.

It's essential.

But the Dayton Peace Accord,

uh, was one of the most brutal,

uh, of peace accords.

And that... that lasts,

that's-that's the
sting here in the tale.

In Dayton, we
had to compromise

what some people defined

as a bad peace or a good war.

First of all, there's no
such thing as a good war,

so we had to accept the peace
that was offered as it is

or agree to continue a conflict

that was exhausting--

not just killing but
exhausting-- citizens

of Bosnia and Herzegovina.

And now the issue wasn't
about how to end the fighting

but really how to bring
about real peace to Bosnia,

because stopping the killing is
nothing more than a cease-fire.

Today, Mr. Presidents,

you have bound
yourself to peace,

but tomorrow you must turn
the pages of this agreement

into a real-life future

of hope for those who have
survived this horrible war.

Once the siege of
Sarajevo had been lifted,

that's when the hard
work really begins.

It's not just about
rebuilding the infrastructure.

It's about bringing
people back together,

helping them deal
with their trauma,

restoring confidence
in each other,

restoring confidence
in the future.

I was a member of
Yugoslav skiing team.

I was 14 at the time
when the war started.

The team left to
France in April of 1992

to participate in the
European Championships.

We all left with two pairs

of skis, and we came back
home after four years.

I returned three months

after Dayton
Agreement was signed.

Everyone sort of welcomed me

with this hunger and thirst
to know what is life like,

because their lives literally
stopped for four years.

Bono asked me to help
organize a concert,

and I think we both saw this

as one of the ways to help
bring people back together,

to make Sarajevo again
the center of diversity

rather than the
center of suffering.

At some point, I heard the
words out of Bono's mouth,

"We are going to come
and play Sarajevo."

And I was like,
okay, I'm with that,

but that's a big thing to say.

They had to defeat what
was in their own head

in order to withstand, um,
what was outside of them.

I want to be there,
I want to see,

I want to witness

with this hope
that the next year

would be a new beginning
for this country.

And I knew once we'd said
it, um, that we would do it.

Actually, we got some
news in, which is

that we are playing
Sarajevo, and, uh,

that's pretty good,
we organized that.

We've been trying to do
that for a few years,

- so pretty happy about that.

I got this call

from Dazed & Confused,

guy called Jefferson Hack,

and he said, "Howie, uh, let's
go, let's go to Sarajevo.

You can play on the
UN radio station."

I went, "Okay, cool."

There was trauma everywhere.

The city had suffered through

four years of war and siege.

Almost all the infrastructure
had been destroyed

and very little rebuilt.

The stadium that
would host the concert

started out its life
as an Olympic venue,

and then during the war,
it had to be converted

into a graveyard,
and now once again,

it would have to be

rebuilt to host 50,000 people.

I talked to the band,

and he goes, "What
was it like?"

We had a conversation.

I told him, it's
like no-holds-barred.

I said, "It's pretty
fucked-up there."

From that point on, it became
a logistical challenge.

On a map, it looks like an
hour or two hours journey,

but, like, you could
be talking 15 hours,

you could be talking an
entire day to get there

because you don't know
what's going to happen

on the particular roads.

I and the band

just said, we've
made a promise to go,

we're going.

Once the decision was made,

first thing that was
always asked was,

"Is it safe to go there?"

So the-the option was given
to people, sort of saying

that if you didn't want to
go to Sarajevo, that was okay

and it would not
be held against you

in any shape or form.

Truck drivers, steelworkers,

advance people, caterers,

you name it, everybody
went to Sarajevo.

♪ Let 'em know...
what goes on ♪

♪ Rolling Stones of the
rap game, not bragging ♪

♪ Lips bigger than
Jagger, not saggin' ♪

♪ Spell it backwards,
I'm-a leave it at that ♪

♪ That ain't got
nothing to do with rap ♪

♪ Check the facts,
expose those cats ♪

♪ Who pose as heroes and
take advantage of Blacks ♪

♪ Your government's
gangster, so cut the crap ♪

♪ A war going on so
where y'all at? ♪

♪ "Fight the Power" comes
great responsibility ♪

♪ "F" the police, but who's
stopping you from killing me? ♪

Could you imagine

that people are
coming to the streets

on the, on the villages

and cheering them,
welcoming them.

♪ Get up and show no fear ♪

♪ Get up if y'all
really care... ♪

The response they got
from the local people,

it was phenomenal.

Till that very day,

most people doubted

that U2 was ever going
to show up in Sarajevo.

Nothing was a guarantee.

The moment we saw
those lights--

I get shivers even now.

The moment we saw those lights
approaching the-the stadium,

that was the moment
it all became real.

The band,

now they have to come.

You know, this has

to happen.

And then, when they
drove into the stadium,

the local crew just
cheered and clapped.

Because no one believed

that those trucks
would come to Sarajevo.

Younger kids, kids my age,

all the generations
were talking about U2.

It was more important
than anything else.

We were literally

saying, like, "Oh my God, it's
happening, it's happening."

Just feel, oh, yeah, I
can't believe we're here.

It's like, uh, I can't believe
we managed to pull it off.

I didn't even, I don't
even believe it. Yeah.

We knew about ten seconds
before I got here.

Bono and Paul
McGuinness and the band

had given me the privilege
and the responsibility

of choosing the other acts.

I chose one.

The band was called Sikter.

No way.

No way.

But then we realized
it was true.

There's a physical way
you describe Sarajevo,

and then there is
something that you describe

that's in the minds
and hearts of people.

There are Orthodox churches,
Catholic cathedrals,

synagogues and mosques

that are built right
next to each other.

That's done over
decades and centuries.

That's not done because people
are fighting each other.

That's done because they believe

in coexistence.

So then I felt that
it was important

to show that Islamic Muslim
element of Bosnia, to propose

the idea of the Islamic choir.

The type of music we perform

is Islamic spiritual music.

This concert gave
us the opportunity

to join these two
things together:

pop rock music with
spiritual music.

Nothing comes without a risk,
and it was clearly a risk

to ask an Islamic choir to play

on the same stage
with a rock band.

But if you don't show them
the benefit of diversity,

of sharing the marketplace

of ideas, that they could
again be brought to division.

Walking on the stage,

we were shaking...

...trembling.

When we performed it,
there was silence.

A couple of seconds.

The audience up front

started clapping in rhythm.

Joining the rhythm
that we had and joining

the intonation of it.

They made sure
that that choir

understood not only
that they were welcome

but that they were at
that moment connected.

All these different tongues,

speaking with the same
voice, with one voice.

This tapestry of peoples.

It was sort of said
very much at the time

that-that the reason
the community wanted

the concert was because
it would normalize

life in Sarajevo in-in
the postwar period.

They just wanted
to feel normal.

They just did not want to feel

like they couldn't
stand next to the person

because of where they were
on the religious divide.

The music metaphor works

because everybody
plays together.

The instruments are different,

the abilities may be different,

but you agree enough on
what the common threads are

that you can make
something beautiful.

That's the way human life is.

And for us, it was
important to play

this national anthem of
Bosnia and Herzegovina,

which was forbidden just
a few days before the gig,

because the high
representative,

he said that all the
nations have to agree

about the national anthem.

Some bullshit like that.

- And so our guitar player,

he came out on the
stage and he played

the Bosnian national anthem

and the whole stadium
sing with him.

That moment, if you
ask me, you know,

honestly, during the gig,

that was the most
emotional moment for me.

-Whoo!

Sikter!

In-in one moment,

in one moment,

- the lights of the stage...
- Mm-hmm.

never seen in my life.

The people, they just

scream.

Everybody scream.

♪ I was on the outside
when you said ♪

♪ You said you needed me ♪

♪ I was looking at myself ♪

♪ I was blind, I
could not see... ♪

I saw, including me,

- the tears of joy, of happiness.
- Yeah.

♪ I will follow ♪

♪ If you walk away, walk away ♪

♪ Walk away, walk away... ♪

- Viva Sarajevo!

Fuck the past.

Kiss the future.

Viva Sarajevo!

- Viva Sarajevo!

There was this nervousness

in this place, and,
of course, it affects

Bono's voice.

"I've a little bit of a,

"a voice thing. I'm
sure it'll be fine,

but just be ready."

♪ All is quiet on
New Year's Day ♪

♪ A world in white
gets underway... ♪

When his voice suddenly broke.

♪ It's true ♪

♪ Say it's true, it's true ♪

♪ And we can break through ♪

♪ Though... ♪

I told Senad, he's
under such emotion.

♪ I ♪

♪ Will be with you again ♪

♪ I ♪

♪ Will be with you again. ♪

He just went,

"Fuck it.

"Okay, I'm going
to use the crowd.

"I'm going to... I'm going to
actually share this feeling

and be honest."

And it was, that
was a mental moment.

Mental, mental, mental
moment when that happened.

" playing)

♪ In the name... ♪

It's not about you, dude.

It's not about your singing.

It's their singing.

Thank you.

I think this message
from this concert,

with all of us participating,

sent the best message
that we can live in peace

no matter how different we are,

how different our music tastes

or what kind of
religion we are.

It doesn't matter, really.

It doesn't matter.

We can live in peace.

Going up.

♪ I wanna run ♪

♪ Yeah, I want to hide ♪

♪ Yeah, I wanna tear
down the walls ♪

♪ That hold me tonight ♪

♪ I wanna break through ♪

♪ Into a new frame ♪

♪ Where the streets
have no name... ♪

It was like a dream.

A whole piece

of dream for me.

Really.

♪ Burning down love ♪

- ♪ And when I go there ♪
- ♪ Go there ♪

♪ I go there with you ♪

♪ With you ♪

♪ It's all I can, I can do ♪

These people had not been
together for six years.

You know,

this is an unimaginable

moment.

I was standing
with Bill, and...

you know, you look
at these people...

...reunited again and
you're looking at, like,

you're-you're in the
center of the city

that was under the siege

and all of a sudden,

life is back there.

Like, people are together,

singing together...

...dancing together,
laughing, smiling.

Like, people from the
region, the whole region.

Nobody cares about
the name or ethnicity.

We're all the same there,
and that's the point.

That was the point.

That's why the war

was pointless.

It-it... it never made sense.

And here we are together again.

My voice...

is gone.

But your voices are strong.

I ask you...

...to carry me

like you carried each other

in those weeks,
months and years,

and sing with me this song.

That's the moment

lives are dominate.

Because we saw the
new chance, new hope

that war, it's really over.

♪ Is it getting better ♪

♪ Or do you feel the same? ♪

♪ Will it make it
easier on you now ♪

♪ You got someone to blame? ♪

♪ You say one love ♪

♪ One life ♪

♪ One need in the night ♪

♪ One love ♪

♪ We get to share it ♪

♪ Leaves you, baby ♪

♪ If you don't care for it ♪

♪ Did I disappoint you? ♪

♪ Leave a bad taste
in your mouth? ♪

♪ You act like you
never had love ♪

♪ And you want me
to go without ♪

♪ Is it too late ♪

♪ Tonight ♪

♪ To drag the past
out into the light? ♪

♪ We're one, but
we're not the same ♪

♪ We get to carry each other ♪

♪ Carry each other ♪

♪ One ♪

I am not saying that song

stops the war.

However, if enough
of us start singing

and actively participated
in stopping insanity,

insanity will stop.

♪ Did I ask too much? ♪

♪ More than a lot? ♪

♪ You gave me nothing,
now it's all I got ♪

♪ We're one ♪

♪ We're not the same, yeah ♪

♪ We hurt each other,
then we do it again ♪

♪ You say love is a temple ♪

♪ Love a higher law ♪

♪ Then you make me crawl ♪

♪ I can't be holding on ♪

♪ To what you've got ♪

♪ When all you got is hurt ♪

♪ One love ♪

♪ One blood ♪

♪ One life, you get to
do what you should ♪

♪ One life ♪

♪ With each other ♪

♪ Every man my sister ♪

♪ Every woman my brother ♪

To be united is a great thing.

But to respect difference

may be even a greater thing.

So, for the city
of the future...

Sarajevo!

- City of the future!

Sarajevo!

City of the future!

♪ You hear us coming, Lord? ♪

♪ You hear us call? ♪

♪ Hear us knocking ♪

♪ We're knocking at your door ♪

♪ Yeah ♪

That was not just a concert.

That was...

that was something
totally extraordinary.

♪ Oh ♪

♪ Oh, my love... ♪

What the band did that night,

bringing us all together

to be together,
to-to heal together,

to reconcile.

♪ A long... ♪

That was something...
that never happened again.

♪ And time goes by... ♪

On one hand, it was a
very serious reminder

that one and only
thing that matters,

that universal,

unconditional love

and the fact that

that night we were all one

and everyone knew it
and everyone felt it.

I-I felt like it was...

a perfect spark that
was ignited for this

collective healing
that had to happen,

for this reconciliation
that had to happen.

But I also have to say,

I seriously wonder in
this moment whether...

...whether we need
that concert more today

than we needed it in '97.

...his divisive
presidential campaign.

♪ Here she comes ♪

♪ Heads turn around ♪

♪ Here she comes ♪

♪ To take her crown ♪

♪ Is there a time
to run for cover? ♪

♪ Is there a time
for kiss and tell? ♪

♪ Is there a time for
different colors? ♪

♪ Different names you
find it hard to spell. ♪

♪ Old pirates,
yes, they rob I ♪

♪ Sold I to the
merchant ships ♪

♪ Minutes after they took I ♪

♪ From the bottomless pit ♪

♪ But my hand was made strong ♪

♪ By the hand of the Almighty ♪

♪ We forward in
this generation ♪

♪ Triumphantly ♪

♪ Won't you help to sing ♪

♪ These songs of freedom? ♪

♪ 'Cause all I ever have ♪

♪ Redemption songs ♪

♪ Redemption songs ♪

♪ Emancipate yourselves
from mental slavery ♪

♪ None but ourselves
can free our minds ♪

♪ Have no fear for
atomic energy ♪

♪ 'Cause none of them
can stop the time ♪

♪ How long shall they
kill our prophets ♪

♪ While we stand
aside and look? ♪

♪ Ooh, some say it's
just a part of it ♪

♪ We've got to
fulfill the book ♪

♪ Won't you help to sing ♪

♪ These songs of freedom? ♪

♪ 'Cause all I ever have ♪

♪ Redemption songs ♪

♪ Redemption songs ♪

♪ Redemption songs ♪

♪ Emancipate yourselves
from mental slavery ♪

♪ None but ourselves
can free our mind ♪

♪ Whoa! Have no fear
for atomic energy ♪

♪ 'Cause none of them-ah
can-ah stop-ah the time ♪

♪ How long shall they
kill our prophets ♪

♪ While we stand
aside and look? ♪

♪ Yes, some say it's
just a part of it ♪

♪ We've got to
fulfill the book ♪

♪ Won't you help to sing ♪

♪ These songs of freedom? ♪

♪ 'Cause all I ever have ♪

♪ Redemption songs ♪

♪ All I ever have ♪

♪ Redemption songs ♪

♪ These songs of freedom ♪

♪ Songs of freedom. ♪